but that's what the practice room is for. I find more problems when trying to deal with the crap some principal cellists come up with.
Ok this makes me curious! Like what for example?
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but that's what the practice room is for. I find more problems when trying to deal with the crap some principal cellists come up with.
Cutesy gestures involving multiple up-bows or down-bows, bizarre retakes. That sort of thing. It's so easy to make a sound on a cello, and they don't appreciate that it's not always the case with DB. I'll look through my archive and see if I have anything that shows what I mean.Ok this makes me curious! Like what for example?
Gergiev is one that I hope I''ll never have to play for. It's not likely, I admit, but have you seen him conducting?"I find more problems when trying to deal with the crap some principal cellists come up with." - a thread onto itself? ;-)
I, for example, find some conductor gestures a little puzzling, but then again I am setting my sights on von Karajan, Abbado, Dudamel...
Gergiev is one that I hope I''ll never have to play for. It's not likely, I admit, but have you seen him conducting?
Whenever I watch his performances, I can't help but think that he looks like a drunk that just stumbled out of a bar and onto the podium.Just did, on YouTube..he is one scary dude!!
Heavier strings; disproportionate length of bow/hair; the fact that we're tuned in fourths, which necessitates different string crossing patterns for any given passage... lots of reasons that the bass section can justifiably march to the beat of a different drummer, so to speak, when it comes to bowings....they don't appreciate that it's not always the case with DB.